Synopsis: A team of scientists aboard the International Space Station whose mission of discovery turns to one of primal fear when they find a rapidly evolving life form that caused extinction on Mars, and now threatens the crew and all life on Earth.

Review: On the drive home after the screening of Life, I ran afoul of my partner after repeatedly referring to it as an ‘odd, little movie’. At first thinking I was just lazily falling back on a casual turn of phrase, I began to agree with myself that for all its A-List star power, occasional scares, and well-executed special effects the film was a strange, small endeavor for all involved. Not tiny enough to be a direct-to-video tax write-off and not big enough to be a major player in the summer months (though it was intended for a May 2017 release until Alien: Covenant moved its release date in close proximity), Life fits decently into the grey area between Oscar season and the mid-year blockbuster event films.

In an unusually long pre-title sequence, we meet the crew occupying the International Space Station as they intercept a satellite returning from Mars containing a specimen from the red planet. As the camera glides from person to person, it feels less like an introduction and more like a location tour to help orient the audience for the action to come. Macho Rory (Ryan Reynolds, Deadpool) is the wise-cracking dude of the team, Army vet David (Jake Gyllenhaal, Prisoners) is about to break the world record for most consecutive days in space which worries quarantine officer Miranda (Rebecca Ferguson, Mission: Impossible – Rogue Nation). They join commanding officer Kat (Olga Dihovichnaya), scientist Hugh (Ariyon Bakare, Jupiter Ascending), and pilot Sho (Hiroyuki Sanada, 47 Ronin) in marveling at the extraterrestrial life discovered when the Mars sample is thawed out.

Fascination turns to horror as the specimen, dubbed “Calvin”, begins to grow rapidly in mind and body, eventually escaping the confines of the lab and hunting down the crew one by one. It’s Alien-like premise aside, there are a few surprises to be had in Paul Wernick and Rhett Reese’s script for Life as it takes some turns you may not be expecting. Director Daniel Espinosa (Child 44) is no Ridley Scott, however, and the workmanlike way Life is compiled and its odd pacing gives it the feeling of a movie that desperately wants to be better than it is.

When Reynolds, Ferguson, and Gyllenhaal signed on, I’m betting they were counting on this being a summer release but truth be told the way the film is structured and performed it feels more like an art-house alternative to a sci-fi horror tent-pole picture. Reynolds is on cruise control as his usual cool as a cucumber self while Gyllenhaal surprisingly rests a bit on his laurels and goes only halfway in crafting the haunted character he’s perfected in films like Enemy and Nightcrawler. Only Ferguson seems to lock into her role, never over-doing the “company man” attitude or under-selling her rising terror that this creature may somehow find its way back to earth.

Had the movie only had three characters, it may have felt a bit less cramped…and been a bit easier to understand. Dihovichnaya & Sanada’s thick accents make it difficult to understand them at times, which becomes a problem anytime they’re tasked with delivering key bits of information. There’s an attempt to give Bakare an interesting back story in a briefly mentioned tangent as to how the wheelchair bound man is living out his dream of mobility in the anti-gravity playground above earth. Alas, any deeper development is jettisoned in favor of more scenes of peril inflicted by the bloodthirsty fast evolving being that’s taken over the ISS.

While there are some solid special effects sequences that take place outside of the station, anything that happens inside had me alternately rolling my eyes and raising my eyebrows. Calvin flirts between an animated starfish-like object and a questionably created CGI monster that looks like an evil cousin to the benign alien creatures from The Abyss. Espinosa films so much of the movie in tight close-up or without any establishing shots that it’s often hard to tell where anyone is in relation to each other and voiceovers are used as a cheap gimmick to tell what they can’t show. I definitely got a couple of guffaws from the way the astronauts kept bobbing up and down (some more violently than others) as a way to show the zero-gravity atmosphere.

So yeah…it’s an odd little (big-ish) movie and while it may carve out some decent box office numbers by being released in a movie climate that’s been largely earthbound, Life isn’t going to be on the calling card for anyone involved. It’s bound to be forgotten entirely by the time Alien: Covenant is released in two short months. Perhaps this will find greater value on Netflix which, come to think of it, would have been an ideal release platform instead.